There is a sense of unnerving familiarity to be found in the tranquil monochromatic portraits of Hisaji Hara, that are currently being shown at London’s Michael Hoppen Gallery; an exhibition that marks his first solo show in Europe. Technically precise, Hara, who is widely considered a rising star of contemporary Japanese photography, meticulously recreates the paintings of the Polish-French artist, Balthus — one of the most revered artists of the 20th century — in this sensuous series of prints.

Working entirely in-camera, and to emulate the depth and atmosphere found in Balthus’ paintings, Hara employs a myriad of techniques — ‘that transcend the use of photographic craft alone‘ — in order to mimic the skewed perspective of the painters work, including smoke machines, specially commissioned furniture and unseen additions to his subjects’ costumes to create a strange angularity to their dress. Here he reinvents Balthus' legendary portraits of adolescent girls and boys in a distinctly Japanese setting, in works that are characterised by a ‘tableau vivant approach and romanticised pictorialism.’ 

Above A Study of 'The Room,’ 2009. (©Hisaji Hara/Courtesy of the Michael Hoppen Gallery).

‘Hara has made the intriguing choice of clothing his models in school uniforms, notably the girls’ middy-blouse-and-skirt ensemble that is the infamous object of Lolitesque obsession in Japan,’ writes Alan Gleason in Artscape International. ‘Even as they cleverly mix and match elements of eastern and western dress culture, Hara's tableaux exude the same poignant longing for youthful innocence so palpable in Balthus's images.’

Above A Study of 'Katia Reading,’ 2009. (©Hisaji Hara/Courtesy of the Michael Hoppen Gallery).

Although the figures and background furnishings of Hara’s images are not identical to the original paintings which have inspired Hara, the compositions are; and as such capture the essence of Balthus’ works, with their unsettling combination of innocence and eroticism. Hara’s models have the ‘light, unselfconscious attitudes of playful children and yet their postures invite the eye to see them as sexual young women. Moreover, in reinventing the pictures, Hara has chosen to dress his teenage subjects in school uniform, thereby emphasising the uncomfortable transitional period between child and adulthood.’

As one looks at these images, with their unusual depth of field which only adds to the mystery of the scenes, one can not help the sense of feeling, that one is an intrusive voyeur on the fleeting moments of innocence.

Hisaji Hara, is at the Michael Hoppen Gallery, London, until 31 March 2012.